Along with post office creativity, which does what it can to catch the eye with sparkly stamps (such as the Austrian Swarovski's Crystal World from 2004), odd in shape (taking the example from Tonga’s gold foil map from 1964 or its fun-to-see banana issue from 1969) and made from interesting materials (such as the paper cork stamp from Portugal from 2007), postal authorities have tried to use technology in their efforts to boost sales.

​The Swiss Post office announced a new feature to their app, which allow users to scan stamps issued from January 2017 which then presents more information about that particular issue. This started with the Christmas issue from 2016, that when scanned will lead to a short publicity video about them. The ones issued this year, however, will show a bit more background information about the theme, and in some cases short informative videos, such as that available for the baby animals set.

It still does not seem to contain much data about issue date, printing, or paper, and clicking on the shopping cart does not mean you will find your item for sale, but perhaps it can be useful for educational purposes, non-philatelists, or those just a bit curious and with some time to kill. It is, however also available in English and might be at an incipient stage.

The app is also useful, of course, to track items (using a scanner), finding agencies or letter boxes close by, check current postage rates and, among other things, buying your ‘SMS stamp’ (where the amount of the priority inland postage rate is debited from your mobile subscription and a number can be used in the place of a stamp). This last feature presents perhaps the dichotomous side of the app for stamp collectors as currently presented. Stamp promotion combined with a possibility for its eradication.

If you check out a stamp catalogue, you notice a gap between Austria’s December 1937 “Rose and Zodiac Signs” issue (picture to the right) and the overprinted stamp from 1945 marking the country’s liberation from the Nazis. Differently from other occupied territories, one cannot find locally issues stamps from these 8 years. The occupation of Poland, for instance, had the Generalgouvernement (General Government) issues from 1939. Böhmen und Mähren (Bohemia and Moravia) issues marked the invasion of Chechoslovakia the same way overprinted German “Ostland” were issued in the eastern territories of Belarus, Estonia, Latvia and Lithuania, “Ukraine” and “Luxembourg” overprints also used on German Reich stamps on those countries. Other areas received similar treatment. Austria, however, was a special case.

WWII issues from Bohemia and Moravia, Poland and the Eastern Front

German troops entered Austria on the 12th of March of 1938 and in Vienna two days later. Rather than an invasion, it was rather considered an annexation (in German called Anschluss), given the cultural similarities and fulfilling Hitler’s dream of ‘a greater Germany’. The nature of junction perhaps explains why that country was treated differently, and the reason Austrians stamps actually ceased to exist.

For some moths, mixed postage (Austrian and German stamps) were accepted, but that gradually changed: from the 22nd of June all the German stamps were valid throughout Austrian territory, and by October of the same year only Reich stamps were valid throughout the territory. The Shilling also was slowly exchanged for the Reichsmark (1.5 Shilling for 1 Reichsmark). The Anschluss was, as expected, celebrated in Germany with a stamp issue on the 8th of April of 1938 picturing two men with the Nazi and Austrian flags and reading “Ein Volk, ein Reich, ein Führer” (one people, one empire, one leader’).

It is therefore rather difficult to tell German and Austrian issued stamps apart from that period, as the collector can only look for clues in the cancels - easier to do with covers than single stamps, especially from the earlier incorporation period: when Austrian stamps were used together with a German. Cancels written “Wien”, “Linz”, and “Graz” are still nonetheless recognizable on German stamps from 1938-1945 (such as shown in the stamps to the right).

The occupation ended in 1945, when the Nazis fell and Austria was freed by the Allies and divided into four parts. The eastern part occupied by the soviets first used German Empire stamps overprinted “Österreich” – later adding thick black stripes around the inscription to cover Hitler’s face and the “Deutsches Reich” inscription. The denomination used was still in Pfenigs and Marks. A month later, in July, the soviets issued a new set of stamps picturing the country’s coat of arms for use in Vienna, Lower Austria and Burgenland. Meanwhile, the western part under the Allied Military Government (A.M.G.) of the USA, England, and France, issued jointly a stamp series featuring the postal horn in Groschen and Shilling.

From left to right: 1945 Soviet issues from May and July (eastern territory), and Western Austria's AMG issue from June

It wasn’t until the end of 1945 that the republic was re-established and general stamp issues were put up for sale. These picture Austrian landmarks, mountains, lakes from the country’s different regions (picture to the left). Series followed portraying famous Austrians, with UN symbols, the coat of arms and other rather neutral themes in the following years of recovery - at least in definitive and commemorative issues.

Austrians were reminded of horrors suffered in the Nazi occupation period (not that a country in re-construction was able to forget so soon, but still) with the semi-postals issued in September 1946 to fund the Anti-Fascist Exhibition entitled “Never forget!” (Niemals Vergessen!). These propaganda issues showed strong images of a country cleaning after the regime. The series contain 8 stamps issued and two others forbidden by the Allies for being too graphic. One of the forbidden stamps pictured a skull taking off a Hitler mask, while the other portrayed an SS blitz over Austrian territory. These can still be found for sale in mind condition, featuring higher prices. The exhibition was rather popular and sought to inform about the regime’s perpetrated crimes.

Anti-fascist propaganda "Never Forget" from 1946

The Austrians regained sovereignty and control of its postal system a decade after the war ended and in October 1955 saw the last Allied troops leave its territory. This was, of course, celebrated by a stamp issued that year featuring the coat of arms and the inscription “Staatsvertrag 1955” (the Austrian State Treaty of 1955), where the country agreed to keep a neutrality policy in an attempt to hinder possible future wars in the region.

I have written a while ago on how I welcome innovation initiatives by post offices. At the very least, they render me a smile when I see them in a letter waiting for me in my letter box. Or I actually would, were they used in common mail. Although entertaining, they are unfortunately rarely noticed by common individuals, usually not made available for sale in most post offices, especially in the country side - and when available, their usage is not commonly recommended by post office clerks even when their postal rate makes them absolutely a fine alternative to whatever common issue they have at great numbers.​ In the end, they are seldom used in mail and are only purchased by collectors who know what the clerk is hiding in the deepest part of his/her stamp drawer. The result is a staggering increase in the price of these stamps a couple of years later, when one searches for them at a dealer's shop.

​ Although this results in very happy collectors and dealers who used their knowledge to fetch these pieces right at issue day, the promotion of the hobby suffers enormously from it. I showed a couple of such Swiss issues to non-collectors to see their reaction. The 2004 commemorative “Swiss wood” made of actual wood and the 2000 NABA St. Gallen featuring an embroidery typical from that region received an “oh, that’s pretty cool” from my friends, followed by their fingers passing on the surface trying to understand their material. Their face value was 5chf, meaning only useful for postage of big letters (35,3x25cm), or standard envelopes weighing more than 51 grams sent by priority mail abroad. The result is that the first almost quadrupled in value 9 years later, and the second costed 12 chf in 2013.

​Another piece I showed them was the commemorative chocolate issue of 2001. The stamp had a particularity of smelling like the goodie it represented (it still does, even 16 years after it was issues), and the reaction to it was better: “no way! Our post office issued that?”. This stamp, however, had reason to be at least a bit more popular. Priced at 90 cent, there is no reason why it hasn’t been seen more often in inland mail. Today, the single stamp is worth four times more today than what one paid back then at the counter. By the way, all these are still valid for postage, though unlikely they will be used for mail delivery.

​Still, the one that makes me smile the most is the 2004 set on the Titeuf Comics, where silly and funny strips are presented. My scan, for some reason make the colours appear rather dull in the picture, but they are actually quite bright and rather shiny. The blue background stamp with the boy and the snowman drew some laughs from my Swiss 'test subjects' who were also somewhat proud to have their culture’s sense of humour represented on mail. Now the face value of this particular set most definitely posed no barrier for it to find its way on letters. 85 cents is the base price for B inland mail in the country. Maybe companies found it too childish to use it when sending bills, and perhaps households believed it just did not send the ‘happy birthday’ message their in-laws wanted to receive. Whatever the case, its price tripled since issue day.

​I could go on here forever with more examples. The 2012 ‘visitor’ issue, a bit of a Swiss Garfield in 2014, funny faces of a cute jaguar in 2015 – even a very weird ‘human surface’ stamp that felt uncomfortably similar to human skin. These are rather more recent, but I shall bet here that they shall follow a similar trend. I would also presume countries with a 'humourous' post office very unfortunately see the same 'reach' problem happening with their issues.

It is important to note here that Switzerland does not suffer with inflation. In fact, stamps from the 1970s can - and commonly are - still be used for postage today. This means 1 franc ten years ago, is worth just as much today.

Even with an inclination towards the classical stamp collecting period, I can and do appreciate such joyful pieces.​I cannot only hope they continue to come about from time to time, but also that they not only reach collectors, but a broader audience in the future.

​It’s valentine’s day in many countries, and no better way for collectors to celebrate it than a nice romantic stamp on their envelopes. This is actually not only true for collectors, but common ‘card senders’, and no post office has used this to make business than the USPS. Along with general ‘celebration’ topics, the US post office has launched wedding stamps, and some with the ‘love’ theme, especially in the so denominated Forever Stamp Issues, first launched in 2007. They have no denomination, are sold at the current “first class” rate and valid for first class postage for an undetermined period of time – regardless whether this rate increases over time. It has been widely discussed among collectors whether this is a smart move from the post office, since it would incur a loss every time inflation and other occurrences affect postage rates. Many argue that most of these stamps sold are probably not even used for postage, due to loss or forgetfulness, meaning the USPS actually profits greatly from them.

​The love theme on US stamps, however, has been around long before the forever stamps, first being introduced in 1973. This stamp was based on the art work from Robert Indiana used on a Museum of Modern Arts Christmas card in 1964 and made into a sculpture, displayed by the Indianapolis Museum of Arts in the 1970s. Versions of the sculpture appeared in many places and in different languages, even Google used it in its logo as a Valentine’s Day special edition.

​From that first stamp on, love issues came around from time to time, in varied forms and colours. Special stamps (those that are around in holiday season) are widely used by most countries. Usually, however, they celebrate a religious holidays (such as Christmas, Hanukah, among others), but few post offices even today issue valentine-related stamps, and perhaps this is the reason of it not yet being a broadly collected topic in philately.

​​It is also worth noting that the USPS has issued an even wider range of special stamps that this post shall not get too much into – because it is Valentine’s Day, after all – but I find interesting to see all sorts of greeting and wishes that certainly make card sending a touch more personal. Loving or not, celebrating the day with someone or sorting stamps on your own, this blog wishes you a very happy day, and a lot of hearts on stamps.

Philatelists love errors on stamps. Every one heard about the inverted Jenny. What about varieties, though? What is actually the line between error and variety?I believe in many cases there is a thin line between both. Known errors may significantly increase the value of a particular stamp, while variations would not. Well known errors are usually listed in specialized catalogues, which provides us with great information on what to look for. Many of the listed errors, however, are not so grotesque like the Inverted Jenny example, but rather come in the form of missing lines and displaced colours. That is where things actually get complicated. Some stamps series present greater varieties than others. The Swiss Standing Helvetia series, for instance, is very rich on colour tones. It is also not uncommon to find pieces where the perforation touches or even slightly cuts the design. The question then becomes how big does the variation to the norm have to be to be considered an error?

Mi. 88D - The stamps not only differ in tone but the one to the left misses the outline of the shield.

Mi. 94C - the stamps differ in tone. The perforation of the stamp to the left cuts into the design at the bottom.

Another example is the 50 Year Anniversary of the Universal Postal Union from 1924. The stamp to the right has three times the catalogue value of the one to the left. Both are very common stamps and very much affordable, but the price difference relies mostly on the black shaded background of the denominators and the written box, and the left line of the left side triangle under the denominator. This error (that could well be a variation) in not in the Zumstein or Scott catalogues, but may be found in a philatelic store (being referenced as Zr. 166A.2.01, according to the Zumstein store).

Furthermore, if a catalogue describes an error, other variables still may affect the value of the stamp. In th Peace Stamp of 1945 bellow the well known plate error increases the value of the stamp Mi. 448 by 250 times (according to the SBK Catalogue). Before celebrating the finding of such a stamp in your collection, however, take a careful look at your cancel. These peace issues were valid until the 31st of May of 1946, and if the specimen in question was canceled a couple of days after this date, the value diminishes again.

Mi. 448/ ZNr. 263 to the left. Error ZNr. 263.2.01 to the right with cancellation date post validity expiration.

Collectors like dramatic errors: inverted prints, albino stamps (dry printing error), imperforated stamps that should actually have perforations. Are colour shifts and perforations that cut into the design only welcome as long as they approach the absurd, though? I particularly enjoy varieties that make stamps unique, and may be one of the reasons I am such a big fan of the classic philatelic period. Different tones and small plate errors tend to find place in my collection as curiosities and even if they don’t bring up it’s overall monetary value - they are what makes stamp collection an interesting hobby.

I was recently presented with boxes of my uncle’s stamps – he had given up the hobby decades ago, and decided they should find a new home. Different countries and themes in mixed conditions, at times found in album pages, sometimes as bundles in envelopes and some lucky ones in old stock books. While sorting out the material, I came across a couple of curiosities I found worth sharing.

M.S.A. 7 Swiss soldier poster stamp Soldier stamps (Soldatenmarken) are not so difficult to come across but are unfortunately not included in common catalogues (like the Zumstein Swiss Catalogue). They were first issued during the First World War and have no denominator. They were successfully sold by the army and the proceedings were quite important to support the soldier’s efforts of keeping the Swiss borders safe.

Baltic States Cinderella Issued in the 1940s, this Cinderella stamp was a call for help with the communist takeover of the Baltic States. Similar cinderellas were issued in the following decades, mostly by Estonians, Lithuanians or Latvians abroad calling for the end of occupation. Due to the great historical significance, this can be quite an interesting thematic collection to pursue.

1852 3p green Buenos AiresInequalities between Angentinean provinces and disagreements during the dictation of the country’s constitution caused the province of Buenos Aires to revolt and acquire it’s independent from the Argentine Confederation in the early 1850s, being ruled by a separate government until 1861. For this reason, this stamp is found under a different section in catalogues.This looks like a poor reprint of the scarcer original version. The paper feels cardboard-thick, the left margin is extremely wide and the letters just look overall odd. This Buenos Aires 1850s series has been so widely forged that such stamps actually should be assumed to be fakes unless enough evidence suggest otherwise. Sperati or Fournier forgeries of this stamp are also out for the collectors of such pieces It would have been great to see the Baltic States cinderella and the Swiss M.S.A. in better states of conservation as it would have made this collector smile broader if the 1852 Buenos Aires stamp were genuine, but they were interesting findings nonetheless, and there are still plenty of material to go through in that interesting box.

Every collector tries to avoid damaged pieces in their collection. That includes stamps that are thinned, tore, has missing perforations, and the list goes on. The answer is quite simple when common stamps are concerned. It is unlikely one would buy or otherwise trade one for a damaged piece. Still, depending on the damage, one might keep it at least until a better piece comes along.When higher valued stamps are concerned, however, many more may bend the line of ‘what is acceptable to be included’. Some may even seek or purchase the so called 'space fillers'. The question becomes: when is a bad piece too bad to be displayed? Or better even, is any copy better than no copy?

Once in a philatelic shop I was looking for a couple of items – one of them a penny black– when the lady who was helping me out said unfortunately there was only one left. It happened to be a very ugly one as well, very badly cut in the margins, hinged, and the cancellation covered up the piece very badly. Also interesting was that the listed price for it, a stamp that does not even have a very high catalogue price to begin with, was 30 Dollars. She saw my face and was very apologetic. I ended up buying if for 10 until I could find a better piece.It is common knowledge that space fillers are sold by 5-10% of their catalogue value. This is a broad concept an it does also depend on the overall condition of the piece and gravity of the damage(s), added to the will of the seller to sell and the will of the buyer to buy.The price or percentage of catalogue value at which they are sold also seem to be linked to the rarity of the piece in question. This is also a matter of logic, since demand for those pieces are higher than their supply – I am sure many would be willing to buy a Benjamin Franklin Z-Grill even if it had one forth of it cut out and several hinges and oil stains, and would pay thousands for it. Supply and demand is what counts after all.Most substitute some pieces for others when a better copy is available (one which is better centered, or with a better looking cancel, for instance). This may even be a never ending process when collecting some issues. Still, most of us have that stamp which we hoped looked better, but which will fill in the space until a better copy comes along. Space fillers are also perhaps the only way most collectors will be able to afford the real item in their albums, and manage to complete a series.Paying some thousands of dollars for a paper beauty is not realistic for most collectors, I believe. One may dig for years but never get lucky finding that one piece in someone’s basement or in that batch bought in a flea market. If an "ok" looking piece (maybe thinned, or with an excess ink cancel) comes along for one affordable price, it may be worth it.

I do not believe in a collection made by space filler, but if the damage does not take out the beauty and pleasure of having the item, it does give a joy of not seeing that one space empty. Still, even with that space filler there, the hope when searching basements and flea markets will not be totally gone – as you still have that piece to replace.

After the imperforated Sitting Helvetia Series (nicknamed ‘Strubel’, reference to a popular children’s book character, due to Helvetia’s laurels crown looking like messy hair), the Swiss Post office first launched its perforated version in 1862. These are specifically rich collection series, due to the richness of variation to be encountered: apart from numerous colour shades of each piece, some may present silk threads (even two are possible), while others none at all. The two first sets were printed on white paper, while the 1881 issues were printed in paper with small fibers (granite paper).I could not find the reason for the launch of the perforated version, but the bad printing quality of its predecessor may have been one motivation, as the new versions presented richer details and Helvetia’s crown problem was fixed. Still, engraved printing allowed excess of ink which could alter the background of the stamp or even allow from additional frame lines from the excess ink.

Zr no. 32/ Mi no. 24 in numerous shades

Another curiosity I came across was in an odd cancelation on a 1Fr. 1862 piece which otherwise looked mint. The catalogue price indicated a higher value for cancelled pieces and after short research I found out after the series went out of circulation, people could trade their old issues for new ones during a certain period. Post offices overprinted “AUSSER KURS” (meaning they were no longer valid) on these traded-in stamps. These were then sold to collectors and are apparently somewhat common. Two types of such overprints exist: ‘Ausser Kurs’ (type 1) and ‘AUSSER KURS’ (type 2), both in the upward-right direction. The first type is scarcer than the second. Another overprint known, a bit harder to find than the others is the ‘SPECIMEN’.

Zr no. 36/ Mi. no.28c mint with "AUSSER KURS" overprint

The Sitting Helvetias (in its perforated form) are rather straight forward to collect, and the stamps are not necessarily expensive, with a couple of exceptions. Apart from the already mentioned great colour variations, only 3 out of the 26 pieces have actual catalogued varieties in Zumstein. The series was replaced by numerals 1882 issues, but Helvetia continues to appear frequently in Swiss stamps in many ways, and we find her seated again in a 1908 series, this time with a sword in hand. But that is a different issue and yet again a different story.

How do we define what a complete stamp collection is? Some may argue that it would mean having every stamp listed in a catalogue for a given country, topic or period. If so, which catalogue to follow, given that catalogues differ?Also, would that include all varieties that specific catalogue lists and both mint and used, or just one of them, or a mix of both is acceptable? Perhaps a complete collection would be filling up every space of a given album.Most collectors spend time looking at various items, studying them and noting that many stamps possess unique features , colour and shades variations, minor errors or varieties (or even very noticeable ones not listed), different paper thickness, a range of perforations, an even greater range of cancellations, and the list goes on.Even though pieces perfectly centered are the ones sought after, I sometimes add badly shifted ones as well simply because I find that interesting. Especially when collecting earlier items, I come across so many different shades or shifted printings that I cannot but add some to my main collection. The same treatment is given to appealing cancels. This is perhaps the reason I never adopted any of the albums one can find in the market – I would have to build such a massive appendix to go with it that it would just be easier to do it all from scratch in the first place (an ongoing project with my Swiss collection, by the way).

﻿Zumstein no. 220 / Michael no. 336: the issues have numerous printing shift variations and cancellations. Only 2 varieties are listed, one with a very strong shift that brings the red paint to almost the middle of the denomination and almost until the perforations bellow, and one where the red paint is not present.﻿

These doubts have crossed my mind as I approached the commonly accepted ‘final lines’ of some periods, but especially when I started working on my ‘No. Ones’ collection. I based myself mainly on Scott, but have gone to Michel and a couple of local ones for information on what to look for, and although things may change while I seek the issues, I have basically been ‘creating’ a ‘catalogue’ (or list, actually) of my own deciding what I actually want to have rather than just going for the listed “1” in a world catalogue.I do not have an answer of what a real complete collection is, maybe because it varies among collectors. Perhaps when the goal – whatever the goal is – has been reached, it is complete. Maybe all catalogue listed ones are not enough for many and will be always a work in progress. In any case, I believe it does not matter. The feeling one has after sorting out huge boxes of stuff and admiring the end result already is like “mission accomplished. Well, at least until the next box comes along.

I enjoy acquiring philatelic material at stamp dealers, where I sometimes also find a pretty little piece that is missing here and there. There are some online auctions (organized by philatelic societies) that appeal to me and where I find some interesting items. Sometimes trading with some collectors I met online has also given me great material to work on. The best material I found, however, was in small flea markets around Europe. Needless to say most of the time I find quite common stuff – which is great, and bulk buying is important to fill in great gaps in the collection, with the plus of appealing prices. Some non-collector friends of mine have also brought me presents in the form of boxes filled with stamps they found on a street market during a trip (general reason I actually have a world collection).One every hundredth time I get stamps like this, however, I have a nice pleasant surprise. Perhaps these are the moments that actually make me go and acquire ‘street market boxes of philatelic stuff’. A couple of Swiss Rayons, imperforated Sitting Helvetias, and some rare Swiss Pro Junventute issues have come to me this way. Never a Basel Dove, sure enough, but very special pieces nonetheless.

There were also less obvious pleasant findings, such as variety pieces containing known catalogue errors or specific varieties or aspects that have possibly been missed by the previous owner – or maybe by the person who inherited or sold the collection to me. These instants when one finds a small treasure in old collections is the moment all collectors look forward to. They are also the instance you wonder if you ever passed on an item you missed something in.

Helvetia with Sword, Mi. 101X from 1908: similar to Mi.106X, but 3 leaves (instead of 2) hanging from under the left side sword handle.

Mi. 2 from 1882, similar to Mi. 50X from the same year. The difference lies on the paper, white was paper used on the first type, while fiber paper was used for the second.

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